提托是个害羞的十岁男孩，和母亲住在一起。突然间，一种闻所未闻的流行病开始蔓延——人们只要感到恐惧，就会生病。疫情蔓延全城，社会陷入恐慌之中，传染病愈发肆虐。提托很快发现这种病的治疗方法与他失踪的父亲对鸟叫声的研究有关。他和朋友们——坚强无畏的莎拉、朴实而谦逊的布伊、傲慢却乐于助人的富家子弟提奥以及他的跟班——开始了一段拯救世界的旅程。提托对于解药的研究过程也是寻找失踪的父亲和个人身份的过程，而提托与朋友、家人及对手之间的关系也是影片中的吸睛之处。

巴西影史最佳超现实主义电影之一，与Joaquim Pedro de Andrade的《Macunaima》不相上下，更值得一提的是这么NB的无政府主义电影居然出自一个女导演之手，那个时代巴西的女导演还真不多见，Ana Carolina属于巴西新浪潮一代中的特例了，此片又是由我最爱的巴西女星Norma Bengell主演的。找这片已经很久了，今日终于拿到。。。：D


Anarchist film with surrealistic touches, fine actors and delightfully wacky dialog.A Weird and Surrealistic Dramatic Story.
Ana Carolina surprised everybody when, after many documentary shorts and a hit documentary feature about Brazilian dictator Getúlio Vargas, she jumped into anarchist, surrealist crazy drama/black comedy with her first fiction film "Mar de Rosas". A non-sequitur, iconoclast portrait of middle-class family life, her protagonist Betinha (Cristina Pereira, perfectly cast) is a sort of teenage Mafalda (Quino's comic book anti-heroine): rambunctious, naughty, irrepressible, eager to be evil. She's on the run with her mother Felicidade (Norma Bengell, returning to Brazilian films after a long sojourn in European cinema and theater), who has killed husband Sergio (Hugo Carvana) in a hotel bathroom. Betinha and Felicidade are followed by suspicious character Bardi (Otávio Augusto) and, after terrible "accidents" -- Betinha sets fire on her mother at a gas station, Felicidade is hit by a bus while trying to escape from Bardi -- the 3 of them end up being "helped" by wacky couple Dirceu (Ary Fontoura) and Niobi (hilarious, wreck-voiced Myriam Muniz).
"Mar de Rosas" has some major lulls (especially toward the end) and is technically precarious, but the acting is inspired and, despite being ultimately a tragic film, you'll find yourself cracking with the loony dialog which is rather difficult to translate, as Ana Carolina uses a lot of Brazilian jeux de mots, adages and figures of speech in her trademark style of "free association". "Mar de Rosas" is refreshingly anti-cliché, and its critical and commercial success paved the way to Ana Carolina's very individual oeuvre that combines anti- conformism, feminism and social criticism with a delightful touch of surrealistic (black) humor.
The antagonism portrayed in this explosive black comedy makes a dysfunctional family seem like the Brady bunch. Director Ana Carolina has her leads play it straight, allowing the absurdity of their situations to speak for itself. Felicidade (Norma Benguel) has just slashed her husband with a razor blade in a violent argument, and she and her offensive daughter (Cristina Pereira) run away together. They are caught by Orlande (Otavio Augusto) who was sent out after them by the injured husband. Instead of bringing them back, Orlande takes off with them and a series of misadventures results. Long periods of dialogue are well-written and maintain interest in this maladjusted trio.

最近，一部由巴西导演执导的电影《中国制造》在巴西两大城市举行了首映礼，这部电影讲述的是巴西如何接纳中国移民的故事。
从1810年葡萄牙殖民者将澳门人带到巴西开始，到今天，生活在巴西的中国移民已经有大约20万，而这其中有相当一部分人都是经商者。最近，由巴西导演西亚瓦塔执导的电影《中国制造》在圣保罗和里约热内卢举行了首映式，伴随着观众爆发出的阵阵笑声，导演通过诙谐的口吻，展示了一个关于中国商人如何在巴西成长、巴西人如何接纳中国移民和文化的故事：“如今，中国不仅是在巴西，而且也正在全世界范围内迅速地崛起。我想通过我的电影，向人们讲述我生活的城市里正在发生的事情，讲述中国人的到来不仅给巴西带来了中国制造的产品，还有中国的文化。现在中国人已经越来越多地出现在我们巴西的文化中，展示着不同于其他东方国家的色彩，我觉得这对于我们两个国家来说都是一种进步。”
这部电影以里约著名的撒哈拉商业中心为原型，演绎了阿拉伯商家和中国商家由激烈竞争到结为同盟的故事。过去，撒哈拉商业中心曾是阿拉伯和犹太商人的领地，现在却变成了中国商人的天下。片中少女晶晶的扮演者王伊立如角色一样，也是在17岁时与母亲来到巴西，7年来在这里生活的经历让她切身感受了巴西人的包容：“在巴西并没有像其他国家一样，有‘唐人街’或者‘中国城’，这是因为在巴西所有人不管是阿拉伯人、犹太人、巴西人还是中国人，都是像朋友一样的，这也就是为什么到现在都没有‘唐人街’和‘中国城’的原因。所以我觉得巴西人的包容性是非常值得我们学习的。”